Fifty years ago, when she was five, Sister Mary Katherine witnessed something terrible . . . A former Seattle policeman now working for the Washington State Attorney's Special Homicide Investigation Team, J.P. Beaumont has been hand-picked to lead the investigation into a half-century-old murder. An eyewitness to the crime, a middle-aged nun, has now recalled grisly, forgotten details while undergoing hypnotherapy. It's a case as cold as the grave, and it's running headlong into another that's tearing at Beau's heart: the vicious slaying of his former partner's ex-wife. What's worse, his rapidly unraveling friend is the prime suspect. Caught in the middle of a lethal conspiracy that spans two generations and a killing that hits too close to home -- targeted by a vengeful adversary and tempted by a potential romance that threatens to reawaken his personal demons -- Beaumont may suddenly have more on his plate than he can handle, and far too much to survive.

Examines gender bias from the perspective of readers, writers and publishers, with a focus on the top two bestselling genres in modern fiction. It is a linguistic, literary stylistic, and structurally formalist analysis of the male and female “sentences” in the genres that have the greatest gender divide: romances and mysteries. The analysis will search for the historical roots that solidified what many think of today as a “natural” division. Virginia Woolf called it the fabricated “feminine sentence,” and other linguists have also identified clear sexpreferential differences in AngloAmerican, Swedish and French novels. Do female mystery writers adopt a masculine voice when they write mysteries? Are femalepenned mysteries structurally or linguistically different from their male competitors’, and vice versa among male romance writers? The first part can be used as a textbook for gender stylistics, as it provides an indepth review of prior research. The second part is an analysis of the results of a survey on readers’ perception of gender in passages from literature. The last part is a linguistic and structural analysis of actual statistical differences between the novels in the two genres, considering the impact of the author’s gender.